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Sunday, April 4, 2010

Art in the wild, in context, out of time ...

Back in around 2000, when my wife (then girlfriend) suggested we attend her cousin's current art exhibition at the Brooke Gifford Gallery, I was naive to the name Jason Greig and wholly unprepared for the silent embrace of the realms amidst I was set to trod. 

Hazily drawn from memory, I recall the first image under study involving a tangibly deep pool of sepia water, out of which arose an annoyed creature's head. He may've possessed horns - such was the prickle of his glare - although, far from pushing me away, his irritation served only to draw me in further. 

Since then, due to the family connection, I've had the enormous privilege of viewing several of his artworks (both completed and discarded) in an environment considerably less sterile than the contrived appearance of a typical installation. 

For example, below is a photograph of my daughter taken at his father's house in around 2006 or so, a portrait of him by Jason displayed on the wall behind her; perhaps the perfect context in which one could view it. 


And this next picture shows the same piece (far left) displayed in the Hamish McKay Gallery exhibition Rockumental, shown 25 November - 23 December 2009.


The following images are merely a collection of his works that appeal to me on various levels - and some day I'll own me one!

Death Star 2005 (1/1 monoprint, 290 x 215mm)

Edison's Wet Dream 1998 (1/1 monoprint, 130 x 175mm)

Seven Years of Labour for the Instruments of Time 2003

Storms comn - and its gonna be me 2006 (Monoprint)

Viking U-Boat 1993 (Etching) 

Isis II 2006 (Monoprint)


Revolution 2005 (1/1 monoprint, 370 x 300mm)

His work will be on display again at the Brooke Gifford Gallery between 20 July - 14 August, 2010.